Today

Robert Holman

• Publisher: Nick Hern Books
• Year: 2019
• eBook ISBN: 9781788502344
• Topic: Literature
• Subtopic: British Drama
• Index: Literature

'I came here for the future. If you can't see a future, what can yer see? Nothing.'

From the lawns of King's College, Cambridge, where two shy young men from opposing backgrounds confront the reality of their attraction to each other, to the battlefields of the Spanish Civil War, where courage, idealism and solidarity are tested in the furnace of conflict, Robert Holman's play Today is a panoramic study of life, desire and the search for a fundamental self in the midst of a shifting, uncertain world.

Written for an ensemble of Royal Shakespeare Company actors, Today was first performed at The Other Place, Stratford-upon-Avon, in October 1984.

Also included is the music used in the original production.

ACT ONE

In the half-light, the COMPANY sing the traditional song on which VICTOR will base his piece of music.

This play is partly about a composer, and the music might be simple to begin with, slowly becoming more symphonic as the drama progresses. The notes VICTOR dictates in Act Two, Scene Four, are an English folk tune. It might be sung simply at the beginning and in an arrangement at the end, and is given as an example to indicate intention.

Scene One

The lights are snapped up.

A secluded place on the vast lawns of Guisborough Priory.

Monday, 5 October 1936.

The sky is overcast and full of cloud.

On the grass there is a small wicker basket. The handle of an umbrella protrudes from it.

PEGGY SMITH is standing near the basket. It also contains her purse and a few personal things.

PEGGY was born in 1908. She is a well-heeled woman with a fine bone structure. Her face is bright and alert. She is wearing an autumn coat with a matching hat.

VICTOR ELLISON is standing near her.

VICTOR was born in 1902. He is a big, squarely-built man with thick black hair. He is wearing a good, nut-brown suit which is chalk-marked from a school classroom. He has chalk on the ends of his fingers and a yellow nicotine stain.

VICTOR is bent almost double, breathing deeply. He has just entered. He has his hat in his hand.

VICTOR. I’m sorry. Rebecca’s had an accident. I’ve been at the hospital most of the morning.

PEGGY (gently, concerned). Don’t worry, what’s she done?

VICTOR. Only cut her finger, the little fool.

PEGGY. Victor –

VICTOR. I was more sympathetic with her. (Showing PEGGY the side of his left index finger.) Here.

PEGGY. How?

VICTOR. On some plateglass.

PEGGY. At school?

VICTOR. Yes. One of the little boys was larking about. On a door. He pushed her into it. She put her hand out to steady herself.

PEGGY. Poor Beccy.

VICTOR. Her headmistress telephoned me. I’ve so much on, what with the Christmas concert and everything.

PEGGY. Have they stitched it?

VICTOR. No. It’s worse than that, unfortunately. That’s why I’m in a state.

PEGGY. Which doctor saw her?

VICTOR. A junior doctor. Then your father.

PEGGY is looking at VICTOR. There is a moment’s silence.

Yes, that’s what I thought.

PEGGY. You didn’t say anything?

VICTOR. Yes, Peggy, I told him all about us.

A slight pause.

PEGGY. Poor you.

VICTOR. I expect it’s one of those things.

VICTOR holds out his hand. PEGGY takes it; their hands fumble together. VICTOR straightens up.

PEGGY. She needs surgery?

VICTOR. Mmm. (Brightly.) Well, Dr Smith?

PEGGY. It’s not my field, Victor. He’s good. I should trust him.

They are holding hands. PEGGY points to the side of her own left index finger.

Here? What’s Daddy said?

VICTOR. As little as possible.

PEGGY. She’s severed the tendon?

VICTOR. Yes. Is it serious, or very serious?

PEGGY. Quite serious.

A slight pause.

Would you like me to be at the hospital?

VICTOR. I don’t see how we can. When I took her in I was praying you’d be there.

PEGGY. Didn’t you know I wouldn’t be?

VICTOR (brightly). Yes.

PEGGY (after a moment’s pause). I’d have to wander in unbeknown. What time’s he operating?

VICTOR. This afternoon. I don’t even know what he’s going t’do.

PEGGY. Try and find the two ends of the tendon and stitch them back. They’re difficult things. (Pointing to the top of his palm.) It’s most likely that the free end will have sprung up here. The first thing he’ll have to do is to find it – it’ll be lying somewhere in the soft tissue of the palm.

PEGGY looks at him.

VICTOR. Go on.

PEGGY. That means opening up the length of her finger until he comes across it.

VICTOR. Is it as vague as that?

PEGGY. Yes.

PEGGY hesitates.

VICTOR. You were going to say something else?

PEGGY. The pattern of the suture he’ll use to reattach the tendon is very complicated.

VICTOR. I thought you said it wasn’t your field.

PEGGY. It isn’t.

VICTOR. Go on.

PEGGY. I live with Daddy – we obviously talk with one another.

VICTOR (leaning forward). Stop hiding, Peggy.

PEGGY (looking at him). Am I?

Their hands fumble together. They kiss each other. They embrace in a longer kiss.

VICTOR. Is it a new operation?

PEGGY. Yes, quite new. He’ll be keen to do it.

VICTOR. That makes sense.

PEGGY. It’s an operation pioneered in America. He’s been waiting. The best results have been obtained with children.

VICTOR. How good a surgeon is he?

PEGGY. Brilliant.

They kiss.

A slight pause.

Their lips move apart.

A slight pause.

Their hands fumble together.

Especially with hands. He’s a genius.

VICTOR (smiling). He skipped around like a spring lamb. I think he thought it was Christmas.

PEGGY. I c...

Table of contents

• Cover
• Title page
• Contents
• Introduction
• Dedication
• Original Production
• Today
• Music For The Play
• About the Author
• Copyright and Performing Information